Excitement is curiously absent. The song is a kuduro that borders on an afro-house track. Of further note, "56 - Oliva" was released nearly two weeks ago; its write-up long delayed long delayed by this author. Alas, a four to the floor bass and single synth melody dominate. Plenty of hand drum tone provides fringe rhythm, but the track lacks a certain "pop." No true moment of exaltation is felt. Yet, in the interest of fairness, were this track credited to anyone else it would more than hydrate parched ears. Standards in entertainment, as in beverage, are of the utmost importance. And if the beatmaker in question were not named EdiCerelac, expectations be appropriately tapered. But as the Mãn Juh Produções name suggests, there is indeed just one more song to hear.
Like a pitcher, EdiCerelac engages in the same practice as his counterparts. But rather than baseball, music is his sport of choice. Producers use the same style of beats as a framework much like pitchers vary wind-up and delivery. Much the same instruments are put into place to decorate bare structures. The end result is hopefully a net positive: a ground out, a double-play, or perhaps even a strikeout. How a pitcher's achieves the desired result is unqiuely through speed and variety of pitches.In this instance, discretion is not unlike poetic licence. So in continuing the ball-and-stick metaphor, EdiCerelac is a Nippon Professional Baseball pitcher: capable, lesser known, and somehow...different, almost curiously so (a feat which the song below is much more adept at accomplishing than "56 - Oliva")
Although not immediately clear, "75 - Daniel A," sees EdiCerelac return to a staple beat: batuco. As is commonly heard, the track begins with a false start. This particular song, though, does not merely playback its beat. EdiCerelac instead builds up suspense with a guitar, only to promptly reel back its energy. Three single beats play before POP! the introduction ends. The song proper is set to begin on the fourth. Aside from the rattle - a refreshing alternative to snare rolls - a vocal sample and woodblock provide supporting percussion in the A & C sections. Section B, though, is a natural magnet for attention. Vocals faded, the guitar contracts into a harmonic role as a high pitched synth lays claim to the melody. What follows is a patented success - busy without obvious indulgence, loyalty to a social/dance purpose, and pleasant aesthetics within two-minutes - from a well kept secret
- John Noggle
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